Icanvas Framed Canvas Art Portrait of Madame Canals by Pablo Picasso

Portrait of Señora Canals
Signed Picasso in the upper correct-hand corner
Paris, 1905
Oil and charcoal on canvas
88 x 68 cm
Plandiura acquisition, 1932
MPB 4.266

The Work

The Portrait of Señora Canals is a portrait of a woman with a mantilla and a flower in her hair, with archetype features and evenness in the outline and colouring.

The creative person centres attention on the model's face with its standout white cheek colouring with a slight amount of rouge framed past a blackness mantilla. The frail defined features of the face up and cervix highlight her dazzler with her slightly reddish hair bunched on the back of her caput and one-half-hidden nether the mantilla, also drawing the spectator'southward gaze to the face up. Pink and ochre tones are subtly nowadays in several parts and details on the canvass such as the mauve-coloured flower decorating the comb, on the cheeks and the properties defined past large otherworldly brushstrokes. The diverse chromatic contrasts – the black of the mantilla, the extensive soft ochre and pink palette, and the range of greens in the apparel – alongside a marked classicism lend the work profound serenity and remainder.

The effigy is immersed in an otherworldly atmosphere bathed in pink and glistening tones of the new Rose period he had started that lacked the monochrome of the previous Blue menses.

Rose Menstruum

Picasso met Fernande Olivier in 1904 (with whom he shared his life until 1912). From this moment, pink colours predominate in his works giving rising to information technology being referred to every bit the Rose period, although the colour is always more varied based on subtle delicate combinations. The colours are the tones of mankind and sensuality.

The change from blueish to pink is seen not simply in the predominant canvas colour but also in the themes themselves – Picasso is more often than not inspired here past characters and circus scenes such as harlequins and acrobats.

As characters, women become protagonists, either in groups or on their own, being the centre of composition for many drawings and oils in the catamenia, dominated by glistening pink colours. The characters have lost the psychological loads begetting down on them and appear almost every bit if on stage. Their bodies seem freer and more delicate albeit erect and immobile.

The Portrait of Señora Canals is a magnificent case from the menstruum and the only Rose period work the museum possesses.

The Model

The work was painted in Paris in the studio at thirteen Rue Ravignan, known as Bateau-Lavoir. The model was the Italian, Benedetta Bianco Coletta (Cervaro, 1870 – Barcelona, 1958) who had already posed for Degas and Bartholomé and was, at the fourth dimension, the Catalan painter and engraver Ricard Canals's partner – a great friend of Picasso. She married Canals in 1906.

Picasso was present when Canals painted the canvas A Box at the Bullring (Paris, 1904) which Benedetta Bianco and Fernande Olivier sat for. Benedetta's grace in sitting and so impressed the artist that he decided to pigment this portrait – an intimately personal interpretation summing upwards the recollection of Canals's piece of work with the idea of presenting Benedetta in the traditional 'Castilian' way of painting, features of Canals's and other artists' work at the time which were well received by the French public at the time.

History of the Painting

The portrait was part of the Plandiura Collection, acquired by the Museums Lath in 1932. The starting time possessor of the piece of work was Ricard Canals.

Based on the present documentation, it is impossible to determine which year Canals's great friend Plandiura bought it, just it situates the date in an indeterminate period between May-June 1919 – months when the piece of work was presented at the Barcelona Art Exhibition, with Ricard Canals signing as owner – and 1930, the year Eugeni d'Ors's book on Picasso was published, where information technology was listed every bit belonging to the Plandiura Collection.

Ricard Canals

The painter, photographer and engraver Ricard Canals (Barcelona, 1876-1931) was, aslope his painter friends Nonell, Mir, Pichot and Juli Vallmitjana, role of the artistic group Colla de Safrà, the proper name chosen because of the saffron colour used in their works.
He was a great friend of Picasso's, who he met at the time of the Quatre Gats tavern, a popular creative coming together point in Barcelona, and with whom he coincided in Paris at the Bateau-Lavoir where their friendship became much deeper. As Picasso's partner Fernande Olivier wrote, 'At this fourth dimension, Picasso and Canals were always together'. The portrait Picasso painted of his wife is a nifty testimony to Canals and Picasso's friendship.

Canals taught Picasso metal engraving techniques back in Barcelona in 1899 with his showtime engraving, El Zurdo or Left-handed homo, and helped him later on to create The Frugal Repast, an etching from 1904 created at Canals's studio and which starts the Barcelona Picasso Museum engraving collection.

Works by Canals can be viewed in Barcelona at the Museu Nacional d'Fine art de Catalunya.

Location

Room 9

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Source: http://www.bcn.cat/museupicasso/en/collection/mpb4-266.html

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